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Their Last Breath

Script By: Ernest Twain
Science fiction



The only hope for reversing the disastrous effects of viciously carboniferous trees, is a schizophrenic, self defeating scientist, trapped in an uninhabitable rain forest that envelopes the world. Which beasts, challenges, and changes that lie in the perpetual night of those trees, are real or imaginary, MORRISON cannot tell, more importantly whether or not he will be able to face them, depends on him overcoming his self defeating tendencies.

Morrison prior to his departure from his research firm was a highly regarded research scientist. He lost his job due to lack of progress on his most recent project, a cancerous tree that could grow fast enough to remove human’s carbon footprint. The story begins just after Morrison’s project had gone horribly awry. Morrison’s story tells how it began, what it caused, and how it will be resolved.

Viewers will meet Morrison, a schizophrenic research scientist, at a point in his life where he and his wife had been injured at a logging site in South America. Morrison was sent back to North America to recover; his wife was never recovered from the logging site. Just as soon as he recovered, he was going back, only to spend days unconscious in a plane that crashed. While unconscious he imagined having landed at the airport, traveling back towards the logging site, only to discover that his genetically modified trees had grown out of control. His project that aimed at reversing human carbon emissions turned the world into an uninhabitable rain forest. After coming to in the wrecked plane, Morrison is forced to go on. His life work had become a deadly disaster, his motivation for going on, was his wife whom was still missing somewhere in the trees. Before he can save her though, he has to overcome his schizophrenia without medication, and his self defeating tendencies to begin anew.


Submitted:Feb 11, 2014    Reads: 22    Comments: 0    Likes: 0   


FADE IN:

INT. FORREST

Trees stand tall and dense amid perfect silence; it is dark, but light enough to see the trees.

FADE OUT

FADE IN:

INT. OFFICE

In a dimly lit room, there's a cluttered desk shown in low light, a picture frame is laying face down on top of it, there are papers, diagrams, and books on different plant species, they all lay in disarray. There is several different species of plants growing inside the room. Small trees, long ivies, and many small plants in pots. There's a small wood case on the desk. It is roughly hewn with glass covering one side. Inside the case, separated by little walls are many different colored, sized, and shaped seeds. Some appear spliced together, with two different colors. Others appear to be dead. Scanning across the desk, organization appears non-existent. A broken mirror hangs on the wall, pieces of the mirror still hanging on. Enough to see a partially burnt portrait of MORRISON on the opposing wall.

Morrison (V.O.)

(In his naturally deep, slow, grizzly voice)

Buried in my nightmares, I lost everything, but now there are No more excuses, no one left to blame, but myself.

On the screen of a computer on a desk, there is a side by side photo of a plant cell, and a cancer cell, the normal plant cell growing quite slowly, the one next to it dividing unimaginably fast. Next to the computer there are vials with plant parts inside, they are set up on a metal stand. A chemical kit with bottles and vials with some sort of unfinished experiment left in it. Medication bottles are sitting all over the desk, some are empty and tipped over, and some full. The plant cells on the computer screen grow out of control, when the cells reach the edge of the screen the animation begins to start over.

FADE OUT

FADE IN:

INT. KITCHEN

Morrison is setting a table for two. He is a large well built man, unshaven, and broad shouldered. After setting the table and turning his back, he hangs his head, turns around, and removes one plate.

Morrison

Optimism, at the very least, but truly just a lost soul. Years researching the undiscovered plants of the world, scouring the globe, now I can't even find you.

His house is plain, except for the holes in the wall that resemble nails having been torn down and out. All the curtains are drawn and a fluorescent light pours harsh bright white light over the darkened house. There is a calendar hanging on the wall, next to awards with various names above Morrison's they say, for achieving this achieving that There is photos of him and his wife next to strange plants holding awards for having grown them. On the floor there is picture frames lying in disarray. Morrison mumbles a little to himself as he sits down. On the table there's a newspaper, the date on the paper is far from being the one on the calendar. Whether or not Morrison realizes the paper is old or not, he picks it up and reads it. On the front page reads, "The Road to Recovery", in a smaller headline below that one it reads "Is through the thickest trees". Morrison tilts his head back, sets down the news paper and looks up into the fluoorescent light, and dozes off.

Fade out

He hears someone calling, it is his wife.

Jane

Morrison! Morrison! I'm home!

Fade in

He opens his eyes, the house is bright with natural light, the windows are open. He is in a work shirt, and all cleaned up. The table is set for two, it is dinner, and she enters the room. She is in a black dress and short heels; she's letting her hair down as she would after work.

Jane

There you are, how was work?

She comes over and kisses Morrison on the cheek. Morrison rubs his head

Jane

Dinner looks fantastic

Morrison

Thank you, but about work

Jane

That Vince wasn't getting on your case again was he. It's a long project, but it could be your best, you let me know if he bugs you again.

Morrison

That's the thing; we won't have to hear from him again.

Jane

What do you mean? If your project worked, it would have fit all the criteria for the Nobel Prize this year.

Morrison

Maybe so, but they won't stand by me.

Morrison throws down a letter

Cut to

The house dark again, except for the harsh fluorescent light. Morrison is unshaven again, in an old shirt. Sitting on the table is a letter, at the top it reads in bold print REALITY CORP. below that is their motto Bringing imaginations to reality. Below that it reads, we are sorry to inform you of your forced resignation, we wish you the best of luck in your pursuits.

INT. LIVING ROOM - curtains are drawn the rooms lights are low

Morrison enters through an archway; he begins opening a backpack, the bag is mostly empty, except for a picture lying in the bottom. The photo is torn in half; the remainder shows Jane with a man's arm around her, she is smiling. Morrison pulls it out, and after looking at it for a while he sets it aside.

Morrison

I'll get you home, I promise. You're all I've got now.

He proceeds to pack the bag with a neatly stacked pile of clothes, and a basic survival kit, rope, bandages, a bed roll, and a knife. He then replaces the photo on top of the bag, and closes it.

Ext. Morrison's house, it's a cloudy day outside

Morrison is exiting his house; his backpack is slung across his shoulder. His truck is parked in the driveway. He walks around the side of the house, out of sight for a moment. Then a dog emerges from the side of the house with Morrison shortly behind. They approach the truck; Morrison opens the door for the dog, and then gets in himself.

Int. Morrison's office - day

The computer screens animation is playing over and over again. The sound of a jumbo jet airplane firing up its engines for takeoff starts. Inside the house trees start growing up out of the floors and desk, crowding the desk and computer screen. The sound of the jet reaches its climax, no louder could it possibly get, the room completely over grown and growing dark.

Fade in

Ext. airport - road day

A jet passes through the screen from right to left, just having taken off. Morrison's truck passes by going the opposite direction.

Ext. airport - plane day

The windows are up close and the passengers are visible. The shot starts at the nose of the plane and goes down the side. Morrison is visible in the very last window; the tail of the plane reads South Am Airlines.

Int. plane

Morrison is sitting in his seat staring blindly into the camera. There a newspaper on his lap. The plane shakes and Morrison bobs a little as the plane takes off. He then leans his head back and closes his eyes.

Fade to black

Fade in slowly

Jane's voice is heard softly whispering to Morrison

Jane

I don't want to go yet.

Morrison

I'll be right behind you

Jane and Morrison lay in the grass in a clearing in the forest, off to their right is a part of the forest with just stumps in it. Jane on top of Morrisron. It's early in the afternoon and she is kissing his neck, he is kissing hers. Morrisron quickly rolls over to the top, pulls off his shirt and begins kissing her all down the neck towards her chest. They begin to breathe heavily.

Fade to black

All that is heard is the two of them breathing heavily.

Fade in

Morrison is kneeling in the same grassy area, but he is dressed now. He's burying seeds when he hears jane's voice calling out. He looks up to see where it comes from.

Jane

Morrison! It's getting late, let's go! You know I don't like it at night in these woods.

He turns toward the clear cut part of the forest where the voice appears to be coming from. He sees Jane walking towards him. The sound of a chainsaw rings out from above. He looks up, in one of the trees along the edge of the clear cut part of the forest; just above Jane is a man cutting down branches. Coming from deep in the forest, a chorus of voices ring out, shouting calls in an indiscernible language. The sound of the chainsaw and voices combine and grow until a large snapping noise starts, it starts small, and like thunder, it crackles to an ear shatteringly load clap. Jane looks up, to see the branch, massive, and moving quickly towards her. Seeing this makes her burst into a run. She's looking at Morrison who's running towards her. She sticks her hand out towards Morrison, and Morrison reaches back for her hand.

Morrison

Jane! No!

The branch lands with a roar, and breaks into pieces with no clear view of who was hit.

Cut to

Morrison, pinned down by the branch and bleeding profusely. He looks around, all is perfectly quiet, except for a ringing noise that is growing louder. His vision is fading in and out as he blinks. The ringing sound is soon joined by the same chorus of wild voices. The man that had been using the chainsaw is descending from the tree, quickly reaching the ground and running towards Morrison. He is nervously looking around, as if there's something around him that is threatening him. The ringing noise reaches a climax, and Morrison's vision fades out.

Int. plane

Morrison is in his seat, and shakes his head as he wakes up. He takes a hand and rubs his head, when he pulls it away it is sticky with drying blood. He gets up and walks to the bathroom, he is looking at his head. There's no blood, not on his hand or his head. While he passes a look of confusion the plane shakes violently and he hits his head on the mirror.

Cut to

Morrison is sitting on the toilet in an awkward position, he straightens himself out. The mirror is broken, in the mirror he sees his reflection and he is bleeding, his reflection is broken up. He gets himself up, and brushes off, as he is doing so, the pilot comes on the intercom and explains the turbulence. Morrison gets up, washes his head off and returns to his seat. He looks out the window; the runway appears off in the distance.

Fade out

FADE IN:

On the far side of the runway skies are gloomy with only pale light shining through, suggestive of rain, but hopeful for sunshine. Camera follows runway towards airport as the plane comes in.

Morrison (V.O.)

Gone for just one week, hospitalized, helpless, and I missed it. The birth of my monster, all while my wife was left in the middle of it.

The camera arrives at Morrison who stands outside the airport doors, his German shepherd by his side, both of them facing down a road running into some forests.

Morrison

It might not be too late to catch this, to turn it all back around.

Morrison and his dog walk towards a beat up truck reading "Feller's corp." The truck left there when he comes and goes from the airport. There are no other cars.

Morrison (V.O.)

During that one week of recovery, the on site manager of the logging site I was working at called.

INT. TRAILER

There's the on site manager, he's a grizzly old Spanish man standing in a cluttered trailer; it is not hardly large enough to live in. The manager stands with the foreman, a similar looking man, but younger. He explains in broken English on an outdated phone

On site Manager

(Speaking to Morrison's voice recorder)

Mr. Morrison, the foreman says there's a tree growing in a clear cut part of the forest, says it's growing fast. Right where you planted your seeds, I know your still recovering, but I think you might want to see this. Oh, Mr. Morrison, about your wife, ahh well, you'll hear when you get here.

The On site manager hangs up the phone and motions the foreman to follow

EXT. TRAILER

Facing down a road the day waning, they get in a truck and drive away from the trailer down a winding unpaved road.

EXT. TRAILER - GREY SKIES

For a few seconds the camera sits still on the trees around the dirty trailer, no motion for a second until a gust of wind picks up and the trees move, ominous, but idle.

EXT. TRUCK IN A LARGELY WOODED AREA

Foreman and the on site manager arriving in a clear cut part of the forest with stumps all around, except for a peculiar group of trees in the center of that cut. They exit the truck and. The foreman looks estranged, as if the scene has changed drastically

Foreman

Just a few hours and there's twice as many trees. Where did those men go? I swear, you can't leave them alone for even a few minutes.

Looking around Foreman whistles calling out to his workers, it echoes but dissipates quickly into the cold openness of the clear cut. The only sign of life being the trees.

Foreman

They were all just here watching the trees; anything's a good reason for them to take a break.

Onsite manager

They're probably sleeping in the shade, I'm sure they aren't back to work.

The onsite manager moves towards the trees and the foreman follows at a safe distance behind. They observe the thorns on the trees looking around each trunk for lazy workers. No sign of any. They stop in the center and look around.

Foreman

I don't see them.

On site manager POV

Looking around for a second then focusing on the largest of the trees, following it up bodies are revealed, pierced by the branches. While the camera holds steady looking up, a little drop of blood falls from one of the bodies and the camera zooms out following the drop wavering in the wind coming down.

CUT TO

On site manager frantically rubbing his eye

Onsite manager

God damnit!

The foreman watches this happen to the on site manager. He struggles to speak, but is able to spit out what he has got to say.

Foreman

I'm sorry sir, I quit... I've got a wife and kids. I didn't sign up for this.

Foreman begins walking out of the trees

Onsite Manager

Go on you coward, vamanos!

The on site manager, left alone, stumbles around steadying himself up against a tree that he slides down against. Pulling out his note book he writes down everything that had happened up to then, and then he closes it and puts it in his pocket. As he sits there he looks across at a tree with an unusual bulge protruding from the side. He struggles to get up being in his old age, and pokes the protrusion with his finger and it burst spreading seeds all over him. He shakes them off and runs for his truck brushing them out. He gets into his truck and probes his mouth with his finger looking for something. He gives up, and spits something out at the dash, and watches as a little seedling sprouts roots and props itself up reaching for the sky. He starts the truck and slams on the gas.

CUT TO

EXT. TRAILER - DUSK

A company truck comes skidding out of the trees and starts up the drive way, the truck pulls up, the on site manager struggles to climb out clenching his stomach as he runs to the trailer. He stumbles at the door, again clenching his stomach. Throwing the notebook onto the floor.

On site manager

I quit! No more!

Still clenching his stomach he lifts his shirt, something is poking around inside his stomach is looking for a way out, for a little while it just pushes lightly, and then it jabs clean through, revealing a bark covered root with thorns. He looks up and lets a long drawn out scream that echoes shortly in the woods and then dissipates.

EXT. AIPORT - DAY

Morrison and the German shepherd quickly looking up, then Morrison looking down at his dog, he says

Morrison

We had better get to them quickly, there's no telling what's already happened.

INT. TRUCK - OVERCAST

Morrison and the dog are in the truck, the dog is sitting in the passenger seat looking out the window. They are passing through a small town, the place is nearly deserted. The sound of a plane passes land, for some time the sound seems to stay with them. The plane sounds to be far too close to the land, for just a moment the plane dips below the cloud line, it reads South Am Airlines. Just as Morrison sees the plane he hits a big bumps, and the road begins to progressively get much worse. The plane disappears into the clouds again. They continue to drive down the dirt road into the trees.

Morrison

I fear the worst.

Int. forest - late afternoon

Morrison and the dog pull up in the truck. There is a loud thumping noise as they pull up, the truck is bumping around, and something is rubbing up on the bottom of the truck. Morrison is getting out, his dog is with him. The road vanished into dirt and small plants. Morrison leans over and looks under the truck. It had many small saplings thumping the bottom that were making the road impossible to traverse in their truck. Morrison looks up at a little sign the reads 1 Mile to site, and repeats in Spanish.

Morrison (V.O.)

To wish cancer upon something, what a wish. To watch it grow out of control, that was what I wanted. Chaos. I foolishly thought that I alone could control it. And what a fool I was, I even missed the birth of my own monster.

Morrison grabs his backpack, slings it across his shoulder and calls for his dog. They walk off down the overgrown road.

INT. DENSE FOREST - LIGHT FADING

Morrison and dog walking through thick tall trees with thorns that keep snagging on Morrison's bag and shirt, and the dog's fur. Morrison pulls a small orange prescription bottle out, and holding it up the writing reads "Risperdal" He opens it and pours it into his mouth, washing it down with his flask. He puts the cap on the bottle and throws it aside. They trek on; it's growing dark in the dense cover of the trees

Morrison

This is far worse than I thought; it's just what I've been looking for.

Morrison looking up at the dimming light

Morrison

We aren't getting anywhere with this little light.

Morrison throws down his backpack in a small clearing just large enough to have a fire and sleep by it. He begins to unroll a bed roll and start a small camp.

FADE OUT

FADE IN:

Morrison's dog lying by the bag on top of the bed roll. Morrison is coming out of the trees with fire wood; he's sweating heavily and red in the face. He throws down the bundle of wood. The dog looking up as the wood hits the ground. Morrison kneels down and pets the dog saying.

Morrison

Making me do all the work, like always.

Morrison begins to start the fire piling wood neatly up in a teepee.

Morrison

Sometimes I wonder why I keep you around.

Something rattles around in the bushes, no sight of movement, but Morrison jumps up and looks around. His stern face remorselessly searches through the trees. Morrison stares out for a while before relaxing a little; he then looks down at the little pile of wood he had built.

CAMP SITE - night

the is Fire going, it is pitch black outside and very little light shining out from the fire. Morrison is sitting up looking at the many little reflections of light in the eyes of critters hiding in the darkness. Morrison looks down at the dog that is lying content and sleeping quietly by the fire.

Morrison

Alright, I remember why I keep you around.

Morrison covers up the dog with a blanket, then lies down on his bed roll and covers himself up. He takes one last good look around before rolling over to go to bed.

FADE OUT

FADE IN:

Morrison is standing in a grey patch of land, trees stand dead all around, thinly spread out, like toothpicks they point up. Morrison is staring blindly into the camera,

Morrison V.O.

The same dream every night for weeks, a haunting image of a barren land. And the only living creature in sight was running from me. What I had become, no man could tell.

Someone screams the words too unclear to understand. Ash begins to fall as Morrison turns around, the camera panning up slightly over Morrison in slow motion, reveals a woman off in the distance turning and running, turning just a little bit too quickly, so Morrison was not able to see her face, the sky changes and begins to fill with an orange light

FADE TO ORANGE

FADE IN:

Fire burning out, nothing but a small pile of embers remains. A low grumbling growl grows louder as Morrison comes to. The growl is coming from the dog that is hovering low above the ground with his teeth bore. The dog is across the fire from Morrison, staring at something intently in the darkness. Morrison opens his eyes slowly, looking across at his dog; he slides his hand into his pocket and as quietly and motionlessly pulls out a knife. Slowly rolling over on to his belly he looks out into the veil of darkness, he strains his eyes to see a pair of large ember reflections that bob up and down slowly. Morrison very carefully stands himself up, readying his knife. The eyes continue to bob as a shadowy outline of a large cat reveals itself. The cat watches Morrison as it moves closer, becoming clearer as it approaches, breaking thorns off from the trees around it in its skin. Scars begin to show all over the cat, apparently from thorns. The dogs' growling begins to grow louder. The cat once very clear stops, freezing in mid stride, one leg forward just centimeters above the ground, not wavering at all. The cat is not trembling nearly as much as Morrison. For just a few seconds the cat stood still. Then the camera goes into slow motion just as the cat bursts into a full sprint and leaps with both paws forward.

CUT TO

Morrison falling backwards towards the ground in slow motion

Morrison V.O.

Whether it was shock, or awe I could not tell, but whichever it was, it knocked me out, it sent me into a nightmarish sleep.

Just as Morrisron hits the ground

CUT TO

Morrison in the dead stand of trees the orange light still filling the sky. The figure still running in slow motion. It appears to trip and vanish into the ground.

CUT TO

Morrison on the ground the camera looking over him at the dog hitting the cat in mid air and taking it down. The cat quickly whipping around and biting the dog while he yelps. Morrison gets to his knees, steadies his knife and lunges forward, plunging the knife into the cats side. The cat lets out a loud but low groan and runs off into the woods. Morrison tries to stand the dog up, and passes out himself.

FADE OUT

FADE IN:

Still fairly dark, Morrison groaning and pulling himself up. He looks at the dog lying next to him. He shakes the dog.

Morrison

Come on boy, get up, we gotta get outta here.

Morrison grabs his bag and begins running; the dog struggles while getting up but is able to keep up, following not far behind Morrison.

INT. FOREST - SUNRISE

A very low light filling the trees, Morrison is slowing down and the dog is panting hard. Morrison is pulling thorns out of his arms and looking around for any sign of cats. The dog just plops down in its place. Morrison looks down at the dog.

Morrison

Why now dog?

Morrison looks down to the side of the dog and sees garbage, and scraps of clothing.

Morrison

At least there is...

The camera follows Morrison's point of view up to the tops of the trees. It Reveals the same trailer that the on site manager was in, pierced by a tree and other branches. The trailer is fully supported high up in the air. With no other supports than branches.

Morrison

Light...

Morrison (V.O.)

We had reached where it had begun; I had found what I was looking for. But what good would any of my research do, chaos had taken the field. All I could do was watch now. It was now highly unlikely that I would receive any awards for this, but at least there's hopes of finding her.

Morrison looks down at his dog

Morrison

Don't you get up too soon.

Morrison throws down his bag and pulls out some rope, and a pair of telephone pole climbing boots with large spikes on the front. He wraps a rope around the trunk of a tree by him, takes one last look up, and begins to climb. While climbing, he notices something in the branches near the trailer. He strains his eyes to see a pile of clothes, but as he moves closer he can see body parts. As he reaches the heights of the trailer he can also identity the body as the onsite managers with a branch through his chest and smaller branches coming out of his mouth. Morrison just shakes his head.

Morrison

You made it pretty far friend, but not quite to heaven.

Morrison turns his head and looks into the trailer with the door open; he can see in, where a large tree trunk had pierced through the floor and carried it up. The place appeared to be a mess; Morrison ties a rope to a branch just above him and lets the one wrapped around the trunk loose. He uses the one tied to the branch above to swing into the open trailer door. He grabs the frame as he makes it in, and the trailer shifts beneath his weight.

Morrison

The manager must have left his notebook somewhere.

Morrison looks around and see's the on site manager notebook he on the floor, and he carefully moves across the trailer to get it, the trailer shifting beneath his feet. He looks up and out through the trailer door at the on site manager as he flips through the book. Reading the pages very closely

Morrison

(In an agitated voice)

How did this start, how did you get here? This notebook tells me nothing that I don't already see.

Morrison throws it on the ground in rage. Looking down Morrisron notices that his dog is gone; scanning the ground he sees no sign of the dog. He whistles, and still no sign, but off in the distance he can hear the dog barking.

Morrison

Damn dog... I don't even know why I-- aww hell I'm coming.

Morrison picks up the notebook and stuffs it in his pocket, he then rappels down the tree fairly quickly, grabbing his bag and changing out his boots. He looks up at the ropes in the trees, and leaves them. Then he starts following the barking. He runs, dodging through the trees. He finally comes upon the dog, who is jumping is up and down barking at a root.

Morrison

What are you doing? It isn't going to bite.

Morrison kneels down looking at the root coming from a smaller tree. He waves his arms at the dog.

Morrison

Quiet down!

He watches the root bobbing from side to side and leaning up and down. Like a small snake, but it's already covered in bark with little thorns. It stretches out reaching around for something. Morrison holds out his finger by it, and it bumps into it, then again, and again. Then it wraps around quickly and Morrison jerks his hand back.

Morrison

Son of a-- it bit me.

Morrison looking down at his finger with blood dripping down from it, sees thorns broke off in his finger. He looks at the root again, and then stands up, pulling on the dog's collar to get the dog away from it. Then Morrison pulls the thorn out of his finger He cuts the root off, it wriggles around on the ground trying to dig in to the hard dirt, and he scoops it up in a little vial and puts a lid on it. He holds the vial up and watches the root for a few seconds and then puts it in his pocket.

Morrison

We had better get out of these trees before it gets dark. If there still is a way out.

They begin walking away into the trees, and they get smaller and smaller as they get farther away. They disappear into the trees, and the trees quiver just a little bit after they have left.

CUT TO: DUSK

Morrison and the dog walking towards the camera, the little light they had is already growing dimmer. Morrison throws down his bag and pulls out some rope.

Morrison

We have to get a vantage point; I'm not going to walk around aimlessly all night.

Morrison again quickly sets up and begins climbing the tree.

CUT TO:

Morrison wrapped around a thin trunk, moving quickly, but tiring towards the top.

CUT TO:

The canopy of the trees, Morrisron emerging from a tree nearby, and looking around. The sun is setting, Morrison's eyes settle on a thin wispy trail of smoke of in the distance. He takes enough time to commit the location to memory then begins rappelling down quickly.

CUT TO:

Morrison arriving at the bottom, even darker in the canopy than at the sunset in the canopy. Morrison notices his dog is gone. Morrison whistles, looking around expecting the dog to show up. He continues this for a few minutes then shakes his head and picks up his bag.

Morrison

It was good knowin ya

Then Morrison begins briskly walking in the direction of where the smoke was coming from.

CUT TO:

Morrison walking through a part of the forest where smoke is beginning to fill the air. He hears barking and howling and looks around, he whistles calling out to his dog, but not giving up his heading. He looks around nervously, hoping his companion will return, at the same time though his face reads of his imagination of countless horrors in the trees. He sees something weaving between the trees for just a split second. Morrison knows he is getting close and is wondering what it is making the smoke. He notices along the ground that there are little sticks of metal standing straight up with lights on them, most of them broken. Morrison gives an estranged face to them as he continues on. Appearing in the woods ahead of him is wreckage, trees are broken in half and lying over but beginning to grow back upwards. In a little clearing Morrison approaches the side of a small aircraft that remains intact. He walks around carefully; seats are lying on the ground, as well as bodies. He goes around the tail of the plane which reads South Am airlines; he looks in to see the other side of the plane has been completely torn off. The source of the smoke is revealed, a little fire burns inside the hull of the plane. A man sits by the fire, tall but very slender he's looking around as Morrison approaches, he spits out a cigarette he's chewed to pieces, and it lands near many more chewed up cigarettes that lay around him. He catches Morrison with his eyes and locks on.

Andy

(In a whinny, nervous, excited voice)

You're alive!

Morrison

Surprisingly, you are too.

Andy

You survived too, you have to get up.

Morrison

Survived, maybe, but it'll be a miracle if either of us get out of here alive.

Andy

You have to get out of here, you can't stay here.

Morrison

I'm not leaving in this darkness. I'm staying here

Morrison

(Now mumbling)

Might as well die here. Right dear? Neither of us will receive a proper burial, I certainly don't deserve one.

Andy

You have to get up!

Morrison steps back, startled and not fully understanding Andy

Andy

Get up! Get up! Help! Ah! Ah! Ahhhhhhh!

Andy falls over screaming feverishly. Morrison is startled and looks around the wreckage. He sees that even though the aisle of the plane is twisted and torn, at the end, the bathroom is intact.

Morrison

I'm going to be of no good to you, hell; I wouldn't even want to run into me in the woods.

Andy

Help!

Andy continues to writhe in pain on the ground and scream, he rolls around.

Andy

You've got to get out! We're almost at the airport!

Andy starts to slow down and quiets too.

Morrison

What airport?

Andy is still shakes violently occasionally.

Andy

We almost made it, we've got to go! The pilot said we were circling around, waiting on a response from the tower. It has to be close!

Morrison's expression quickly changes to a more curious than worried look. He stands up and looks around, shocked at his story, trying to find the airport, but nightfall has already set in.

Morrison

Looks like your pilot was way off course.

Andy

We've got to get out.

A lone bark rings out of the trees and Morrison looks around, holding his hand up to his face to make a whistling noise, he holds it for a second and reconsidering, he puts his hand down. He looks back at Andy who is not fazed by the barking at all.

Morrison

Did you hear that?

Andy

Help! Help!

Morrison jumps, and shakes his hand and his head

Morrison

No, No! Shut--, ahh never mind

Morrison takes one more look around, then steps up onto the aisle of the wrecked plane takes a look back and walks down to the bathroom. He tries to jerk the door open, the frame being bent out of shape makes it a little difficult, he tries a few more times with growing force until it gives way. He steps in, and while sitting down he pulls out the little vial in his pocket. Looking at it in the dim light from the fire, he can't see the little root he put in it. Just a little bit of dust, he shakes it around. Then pours it out. Shaking his head. A chorus of barking rings out from the trees, Morrison takes one look up, and then pulls the door shut. He can hear through the walls Andy saying

Andy

Help us!

EXT. PLANE: SUNSET

Andy can be seen through the fire. The barking doubles in voices and volume. Bushes rattle the noise is growing out of control.

INT. BATHROOM

Morrison leans back and closes his eyes. He hears Andy scream and the barking turns into snarling. The screaming stops but the barking continues. It begins to quite, through the small space between the bottom of the door and the frame a dim shadow is cast of a dog. The dogs sniffing can be heard as it smells around the door. A loud but deep bellowing growl bursts out and lingers on as it fades to a rumble. The dog sniffing around the door takes off.

Fade to black

Fade in

EXT. PLANE - CLOUDY MORNING

The scene the same just missing Andy.

INT. PLANE - BATHROOM

Morrison rubs his head and pulls his hand away, covered in sticky drying blood. He feels his hair that is matted down with blood. Looking around, he can't find his bag.

EXT. PLANE

The bathroom door opens, Morrison stumbles out holding his head. Staggering to keep himself balanced. He walks down the aisle, looking around. Stepping off of the aisle he looks around, it's morning. He sees his bag lying in the wreckage; he goes over to it, looks back at the bathroom then at the bag again. Looking around he sees Andy's body ragged and torn, his body is burnt. Morrison's eyes widen, he begins wavering back and forth as if he were to fall. Taking a deep breath he steadies himself, he looks at his bag again, it's torn up, slightly burnt, he kneels down and opens it up and right on the top is his bottle of Risperdal, still with just one pill in it. He throws it aside beginning to panic. He picks up his bag and right beneath it is a newspaper, he shoulders the bag while looking at it. The front page is a shot of the trailer from the logging site up in the trees. He picks it up and the page describes the scene to a tee, and then pages from the onsite manager's notebook are listed, as well as a photo of the journal. Morrison frantically reaches in his pocket, feeling around for the notebook, but it's not there. Morrison begins to hyper ventilate, he stares at the page, looks around, looks particularly back where he came from. Rubs his head and looks at the dried blood on his hand, he throws down the newspaper and begins to run towards where he came

CUT TO

Morrison running from the plane, a German shepherd lays dead in the foreground, out of Morrison's line of sight. Morrison disappears into the trees.

CUT TO

Morrison running through the trees, he splashes through a creek.

CUT TO

Morrison Weaving through trees in a particularly dense part of the forest.

CUT TO

Morrison slowing down and stopping, panting heavily. He looks up, the trailer hanging where it was in the newspaper only a little more overgrown. His ropes are gone, no longer hanging in the trees. Morrison catches his breath and begins running.

CUT TO

Morrison running through the trees

CUT TO

Morrison running through the little clearing of trees where he had had the fire. He stops; there are no remnants of the fire. He looks around shaking his head. Morrison starts running again.

CUT TO

Morrison running down the now overgrown road, pavement hardly visible. He passes the 1 mile to Site sign where he parked the truck. No sign of the truck. He continues running without stopping. There's a shadow running between the trees with Morrison. Morrison sees this and runs faster, the number of shadows multiply. As he runs barking begins, chorus after chorus, getting closer

CUT TO

Morrison slowing down, the trees still very tall, but not as tall as at the trailer. His legs no longer able to carry him any faster. He looks up to see the airport he landed at, now surrounded by a jungle. Its run down, no sign of life. The Fellers corp. truck is parked not far from the door, crushed between two large trees. The barking rings out from the trees, getting closer. Morrisron looks back, and then uses what energy he has left to run to the airport doors and slip in, the barking now louder than ever. He bars the door with a pole that seems to be, too perfectly placed for this means. Morrison stands staring out the door, expecting a wild pack of dogs to appear, but after a moment, nothing happens. Morrison's sighs a sigh of relief. As he turns around a woman stands behind him, Morrison is hardly able to discern that she is a woman. She stands staring back, she is dirty, and her blonde hair is dirty and tangled. Her clothes are nearly rags, all but a utility belt neatly covered with pockets and various objects. It is a bit too large for her so it hangs down slightly on one side. She holds a large knife in her hand ready to move. For a moment they stand there, locked in a stare. Shadows move around in the large empty darkened corridors of the deserted airport. The airport is one long corridor, with smaller corridors branching off the sides of the main. Plants are growing inside the airport, only spots of light make it through the skylights, but the majority of the airport is dark. Morrison quivers trying not to look away, but silently acknowledging the shadows.

Erin

(Confrontationally, in a light wispy voice)

Who are you?

Morrison

(Stern but nervous)

My name is Morrison, I'm not certain how I got here, but I was coming back for research.

Erin

What do you mean you don't know how you got here?

Morrison

That wasn't what I said. I said--

Erin

(Cutting Morrison off)

Either way, where did you come from?

Morrison

I flew down here, I've been--

Erin

Why?

Morrison

To study these trees.

Erin

What good are these trees to you? Some kind of pet?

Morrison

(Gathering himself)

What good is our carbon footprint?

Erin

(Grinning a little)

Well now you're talking sense. Did you do this?

Morrison

I-- I--

(Gathering himself again)

I don't know.

Erin

Hah, you don't know? This is your doing isn't it, now you've nearly killed us all. I ought to spill your blood right now, but what would my people think of me if I didn't show any mercy.

Morrison peruses around with his eyes feeling less threatened. At the corner of one corridor there are kids and women looking out. Shadows move around, but no one shows themselves. Morrison sees a tall well built figure carrying a backpack along the dark side of a terminal wall. While Morrison is looking around Erin sheathes her knife.

Erin

So what are you doing here now?

Morrison

I lost my job looking for these trees and I intended to get it back by finding them.

Erin

Well here they are who's going to give you your job back now.

Morrison

This isn't what I wanted.

Erin

So you didn't want these trees?

Morrison

No, I did.

Erin

Then why do you say this isn't what you wanted?

Morrison

The trees are what I wanted, but this isn't how it was supposed to happen. Now these trees have taken everything, my chance to find them first, to control them, and to use them.

Erin

They haven't taken away your chance to stop them.

Morrison

If I knew how to, I would do it.

Erin

There has to be a way.

Morrison

They grow too fast to cut down, if that's what you're thinking.

Erin

It's not.

Morrison

Human set these trees up for success, these trees drink carbon like Americans drink coffee, and we've given them enough carbon to breed billions of them.

Erin's expression sours

Erin

Will we be safe in here? I brought these people together--

Morrison

No, we're all trapped here.

Erin

I've protected them from the beast's outside--

Morrison

You should have taken them far from here, you're not protecting them from what's outside, and these walls are. As long as these walls stand strong, we will be safe.

Erin stands frozen, defeated. Morrison sees a shadow run into a bathroom down the corridor.

Morrison

Please excuse me.

Morrison steps around Erin, who watches him, go towards the bathroom. Tribal voices echo from the dark corridors. Erin raises her hand as if to silence them, and the echoes fade into the darkness.

INT. BATHROOM - DARK

A skylight that's long and very narrow lets in a thin strip of light that barely provides any light at all. Morrison looks around for whoever it was that went into the bathroom. He kicks in the stalls doors one by one, he feels weak, and it's wearing on him. When he gets to the last one he pauses before kicking it in, rubs his head and then lets it all out and busts the door in. He slips falling backwards. He looks up at the straight thin line of the skylight that is now wavering, his vision is distorted. He struggles to get up, steadying himself on the sink. He sees vials of different colors and sizes, with different solutions in them. He looks around, books spread across the sinks. In the mirror he sees a man, the light too dark to show who it is. The man has a Nobel Prize next to him. Morrison now angrily watches the man take a tree root with thorns on it; he looks at it and drops it into a vial. He holds the vial up to the mirror and in the vial the root wriggles around then begins to shrivel up. Very quickly it bursts into flames and dissipates. The man laughs, looks directly at Morrison, the man's expression goes from laughter to a horrid disgruntled look, the man's face morphing into a ghoulish monster, and the man then sweeps all the vials and books onto the floor they break as they hit the floor. The man turns and runs to the bathroom stall, slipping he falls and hits his head. Morrison turns to see the man and when he turns around everything but the bathroom stall and sinks are gone. He smashes the mirror in rage; and then he wavers for a minute, and then passes out again as he falls backward.

INT. AIRPORT - MORNING

Erin is talking with a man, they hear the mirror break and look towards the bathroom. The man she was talking with disappears into the dark. Erin springs into action and runs towards it. She tears the bathroom door open; Morrison is lying on the floor by the broken mirror, surrounded by glass. She shakes her head.

Erin

(Under her breath)

Who the hell are you?

Morrison brings himself to his feet, shaking off and rubbing his head. He's unstable and nearly falls, Erin catches him.

FADE TO BLACK

FADE IN:

INT. AIRPORT - INFIRMARY

Morrison is lying on a blanket in a row of similar blankets. Someone is sleeping not too many blankets down from him. This little encampment is set up not far from the main corridor so it stays somewhat lit, but remains fairly dark. Erin is walking up and down between two rows of blankets, she sees Morrison begin to writhe in his blanket. She walks over and kneels by him. She puts her hand out to calm him, but he flips over and grabs her wrist. She quickly pulls away, again shaking her head.

Erin

I'd tell you to make yourself comfortable, but you seem to have already done so.

Morrison just rolls over again facing his back to her.

Erin

You talk in your sleep, you know that?

Morrison

And what might I have said?

Erin

You mumbled about someone beating you, saying you weren't fast enough... Something about finding her, who is she.

Morrison

No one now

Erin

I'm sure whoever they are; they wouldn't appreciate being called no one... Now tell me, are you certain you were coming down here to do just what you told me?

Morrison

Ahhh, it's nothing.

Erin

Wait, I recognize you, your face, and your story. You're the kid who got kicked out of Stanford, you planted some overly invasive plant, and it ended up destroying the surrounding ecosystem. That was you, wasn't it?

Morrison

Ehh.

Erin

It is you, isn't it; you killed so many species of plants and animals with that stunt! Heh, nothing compared to this one eh?

Morrison

A poor attempt, to save the lives of those who would now have me dead.

Erin

A noble effort, with a poor method, that's what that was, and what this is. Now look here, I'm putting together a plan, I just need a little more time. I'll be back to check in on you.

Morrison

Don't worry about me.

Erin shakes her head and gets up, as she walks away, a man passes her on his way in. He approaches Morrison like he had been looking for him. The old man is in a white shirt, and pants. With white hair that is receding towards the bald spot on the back of his head. He has grayish blue eyes, and goes right up to Morrison.

Jim

Hello Morrison, I see you met Erin. She's a feisty one she is, and certainly a fierce leader. Are you feeling any better?

Morrison

Who are you?

Jim

My name is Jim; I used to study the plants and animals around here. Now there seems to be only one specimen to study, and I don't mean the trees.

Morrison

Certainly it must be outside, I suggest you go search for it. If it's of any importance I'm certain I couldn't help you find it.

Jim

Ahh, then you must be blind.

Morrison

I am no such thing.

Jim

Then you certainly could help me find what I am looking for.

Morrison

No I couldn't

Jim

Well if you're not blind, and you still can't help me, then you must be paralyzed, but you seem to be pretty limber for someone with paralysis.

Morrison

I am none of that; I just won't be able to help you.

Jim

I disagree, if I was searching for something, I could certainly use the help of a young able bodied man with good vision. Fortunately for you, the specimen I would most like to study is you.

Morrison

Hah, all that for nothing.

Jim

Ahhh, but Morrison, you are so much more than that.

Morrison

Heh, maybe what you're looking for old man is your mind, but that's likely been missing for years.

Jim

What good would a mind do without an able body? Certainly you can see that.

Morrison

I would love to carry on this way, but I must clear my mind. It was a pleasure meeting you old man.

Jim nods as Morrison gets up and walks away.

INT. AIPORT - MAIN CORRIDOR - MORNING

Morrison peaks his head out from one side, there is no sign of anyone from front to rear. He steps out into the main corridor, stopping for a moment, looking down to the entrance, and to the other end. He crosses the main corridor to the other side.

INT. AIRPORT - DINING HALL - MORNING

Morrison comes in, the light shining in from the main corridor dims quickly as it treks into dark dining hall. He walks slowly into it; he can see a few mock up beds next to a counter that surrounds a little cafe in the center of the hall. All the cases are broken; no food is left in them. Morrison hears shuffling coming from the darker end of the counter. He freezes and looks down the counter. Morrison walks around to the opposite side of the counter, not the dark side, but across still on the light side. He can see the bottom half of the kid jumping up and down on the counter, the kid trying to reach something. Morrison sets down his head on the counter. As his head touches the counter he goes into a flashback.

INT. MORRISRONS HOUSE - KITCHEN - DAY

The house is clean and well kept; Morrison's head is lying on the kitchen table. Jane walks in; she is shaking her head as it hangs low. In her hand is a pregnancy test, she is lightly slapping it against her other hand. Morrison looks up from his arms at Jane. She shakes her head at Morrison, Morrison heaves lightly.

Morrison

It's not you, the doctor said--

Jane

It doesn't matter, I love you.

Morrison

It's my fault though--

Jane

Don't blame yourself; it's neither of our faults.

Morrison buries his face in his arms, and Jane walks over to rub Morrison's back. As she touches his back.

INT. AIRPORT - DINING HALL - MORNING

Morrison's head pops up suddenly, the kid is huffing and puffing now. He looks at the kid, he shakes his head. Morrison goes to set his head back down, the kid lets out on more big huff. Morrison gets up and walks around, Morrison freezes as he sees the kid, who has also frozen having just noticed Morrison. The kid appears to be about six or seven. He has frozen reaching for something that is on top of a hanging ring shaped fixture. The fixture sits above the counter all around, not very wide, but wide enough for whatever it was the boy was reaching for to get stuck. Little lights hang from the bottom of the fixture. The kid looks are Morrison, he is mortified, too scared to run, and he just stands there. Morrison raises his hand slowly and gently.

Morrison

Hi, I didn't mean to scare you, just exploring.

The kid doesn't move at all.

Morrison

Do you know Erin? I just met her today.

The kid stands still, but he shakes his head a little, saying yes. Morrison sees he is making progress, and starts to relax.

Morrison

Did you lose something up there?

The kid again shakes his head, to say yes.

Morrison

Can I help you get it?

The kid begins to relax, and looks at Morrison, surprised to see someone wanting to help. He shakes his head yes again, this time very eagerly. Morrison climbs up the stools that line the counter and gets up next to the boy. He stands many feet above the kid. He can see a brightly colored ball on top of the hanging fixture. He grabs it and as he hands it to the kid he says.

Morrison

Ahh, there you go.

The kid takes the ball and jumps down; he starts to run off to the dark end of the hallway and stops. He turns back around and looks at Morrison, he holds the ball up, as if to offer it to Morrison. Morrison tilts his head, climbs down the counter, and holds his hands open. The kid throws the ball to Morrison, his shot is a little off, and Morrison jumps to one side and reaches for it. He catches it, and throws it back. The kid runs for it and catches it. They pass is back and forth for a few minutes. Then the kid throws a shot that was really off, and Morrison has to dive for it. He barely catches the ball, and he hears the kid laughing, but the kid is gone when he looks back.

Morrison

(Yelling slightly)

Hey, don't you want your ball!

Then Morrison looks down at the ball.

Morrison

(Talking to himself)

All that for nothing.

Jim

None of that was for nothing.

Morrison looks up shocked to hear a man's voice. Jim is sitting at a stool at the dark end of the bar. Out of the dark end of the dining hall a women emerges, the kid following shortly behind.

Mother

I can't tell you how glad I am to see him smile; it's been weeks since I've seen his smile.

(She gets a little choked up saying this)

Since we lost his brother, he hasn't had anyone to play with.

Jim smiles while he watches from the end of the bar.

Morrison

It was the least I could do.

Mother

Well it meant allot more than that to him.

The kid waves at Morrison, as does his mother. Then they turn around and begin to walk back to the darker end of the dining hall. The mother looks down at the kid, then back once more.

Mother

Thank you.

Then the two of them disappears into the dark.

Jim

What you did for that kid meant the world to him, that's why he gave you the ball.

Morrison looks back down at the ball.

Morrison

Do you think?

Jim

I know, these people couldn't just use your help, they need you.

Out of the main corridor Erin's voice bellows.

Erin

Morrison, we need your help!

Jim

You see.

Morrison

I think I do.

Morrison nods his head and heads towards the main corridor.

INT. AIPORRT - MAIN CORRIDOR

Erin stands by the door, she is standing with another man, and Morrison is approaching. Erin is talking with the man, as Morrison approaches, she speaks to him.

Erin

Everything is all set to go, this is Amelio, he was a pilot, and he's going to help us.

Amelio

Hello Morrison, my wife and kids will be forever indebted to you if you help us.

Morrison

Well I hope I can help then.

Erin

You certainly can, your part Morrison is to help set the fire. We can try and undo what you've done.

Amelio

What do you mean what he's done?

Erin

Nothing Amelio,

Amelio

No, no, no, what do you mean what he's done? Morrison did you cause this.

Erin

(Grabbing Amelio by the shoulder)

Amelio! Control yourself!

Amelio

I'm sorry

Erin

He did not mean to do this to your family, so don't act like he did.

Amelio

(Glaring at Morrison)

I'm sorry.

For a moment they all stand glaring at each other.

Morrison

(Trying to break the ice)

So what do you mean fire?

Amelio

The one that will rid us of your trees.

Morrison

(Unable to control himself any more, he yells)

Alright! Let's clear this up for good, I planted these trees, and this hasn't gone my way since it started. I didn't intend for this to happen this way, so if you've got any other problems with me, just tell me.

Amelio holds his tongue

Morrison

Now that we are all clear, do you really think a fire will stop them?

Erin

If there's a chance, we have to try. The trees produce huge amounts of oxygen, that much oxygen could





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